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press criticism " Fair Maid of Erin "Speyer 17:10:09

The enthusiast as a mature man

bass-baritone Thomas Herberich and pianist Kai make Adomeit Schubert cycle "The Fair Maid of Erin" in the Council Chamber Speyer

by Rainer Köhler

Franz Schubert's cycle "The Fair Maid of Erin" was on Saturday on the program of "Speyer Tracks days" in the historic council chamber. Bass-baritone Thomas Herberich let it hear a great voice, great piano playing accompanied Kai Adomeit.

The miller, who sings "The Fair Maid of Erin", a suffering brother of journeymen from the "Winterreise": not so hopeless, not so pessimistic, but similar fatal embroiled in heartache, in a rollercoaster of emotions that between hope and resignation commutes. Of the true feelings of the beautiful miller's daughter is not here to learn more. Rather, projected the singing miller his desires, hopes and dreams and disappointments in dialogue with nature.

These mood swings Thomas Herberich leveled largely to impose his own stamp on the series. The bass-baritone, who first studied at the Episcopal Church Music Institute in Speyer, before he began his vocal studies, has on the opera stage and acquired primarily in the oratorio merits. Even in his Schubert song he heard a beautiful voice - of sonorous force met in Forte, cultured, warm and balmy flowing in the piano singing.

get this the singer the idyllic moments particularly convincing: very tenderly, he designed the lovely moments, sometimes built on an intimate mood. And yet Herberich not quite the love miller's boy "who is lost in dreams, but rather a mature man standing with both feet on the ground. One who knows what he wants. One who rests in itself and not has doubts about whether the miller's pretty daughter loves him.

Without doubt it does so in his eyes. And so is no room for despair in his soul. Herberich sang the apprentices clarified, with himself and the world pure , always with a fatherly attitude, where youthful raptures and fears would be appropriate. As a rage he approached the hunter who dares pass by in the mill, where the "gentle fawn 'lives, which had dramatic intensity. With dynamic continued driving songs next pause the bassist large voltage applied in this cycle. It is with great thoughtfulness met the singer, the deep thought songs like "The love color," was the voice of this much flow out in the quiet and gain registers let the serenity of the final two songs heavenly dimensions.

Kai Adomeit drew the wings very rich nuances of klangsublimer soulfulness and expression. The loveliest natural moods conjured the pianist with sound and creative expression. Sun brought Adomeit the soul sensibilities of this cycle in his part, between despair, sorrow, happiness and deceptive longing for death, to the most beautiful intensity.

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Thomas Herberich as Elias

Mendelssohn's oratorio "Elijah" listed

Pforzheim. Revolt of the masses, Not the people, despair over their lives and work to address the need to not open the newspaper. This is manifest even in Mendelssohn's oratorio "Elijah", which was developed by Youth Choir and Motet Choir Pforzheim, the Southwest German Chamber Orchestra Pforzheim, led by Michael Kord in the Protestant church set representation in powerful scene.
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dramatic potential seems to have recognized early on
Mendelssohn, contains the dramatic potential of the biblical material, suitable for different moments of tension and rich emotional aspects in a common to unite storyline of great density of events. As early as 25 years, ten years before the completion of the work, fascinated by Mendelssohn for the story of Elijah. The

but only after some labor pains that have been made libretto, he finally adapted to his needs. He combined the music scene without interruptions so that they form an image of a forward-moving events. Usually the people performing the chorus and the soloists take turns so smoothly, action, comments and prayer are in such close succession intertwined that created a tremendous momentum that sweeps the listener. Especially when the sophisticated drama of the work implemented so vividly, as it came under the direction of cord Michaelis. He led choir and orchestra to well-graded embedded in the overall context of sound development. With factual conducting style, he carefully avoided drawing over a permanent offering to the many highlights. The great sound apparatus was therefore always titrate and planning ability. Thomas Herberich as Elias in more diverse ways explored the facets of the person. Elias was angry to close to the bursting of the voice, mockingly sarcastic towards the followers of ball, then suddenly turns into a haunting prayer full of gentle reverence. His vocal style power move in the range of sonorous, symbolizing the dignity of a prophet to the bass withdrawn sphere of resignation.

expressive soloists
The contralto Nina Amon developed especially in the quiet expressive and melodious arias wide arcs. Alexander Pfitzenmeier offered beguiling voice sound truly like angels with bright timbre, while precise and agile. The soprano Kirsten Drope outshone incandescent with sensual fusion ensemble. Excellent in highly dramatic calls for help as well as in more self-sufficient arias she sang with perfect round tone, razor-sharp precision, highly mobile but without any disturbance. Besides three also solo prominent members of the choir offered the young Thomas Dombrowski a special audio pleasure as a singer of the boys game with sparkling crystal clear high tones. More than once in this performance could bekommen.Ruth goose bumps Wolfstieg

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Book Review: Rico, Oskar and the Deeper shade

book title: Rico, Oskar and the Deeper shade

Author: Andreas Steinhöfel

Illustrated by Peter Schössow

Carlsen Verlag.

Actually Rico is supposed to lead a holiday diary. Difficult enough for someone who easily loses the thread- oder war er grün oder blau?

Als er dann auch noch Oskar kennenlernt und die beiden dem berüchtigten Entführer Mister 2000 auf die Spur kommen, geht in seinem kopf alles ganz schön durcheinander.

Doch zusammen mit Oskar verlieren sogar die Tieferschatten etwas von ihrem Schrecken.

Es ist der Beginn einer wunderbaren Freundschaft...

Dieses Buch ist sehr zu empfehlen,

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Press Matthew Passion in Bruchsal 2004

Bruchsaler Rundschau No. 63, Tuesday 16 March 2004 - not page 14

In the service of evangelization

Brilliant performance of Bach's "St. Matthew Passion" in Bruchsal Paul Church

winner remains the hypocritical high priests, scribes, Pharisees and other "crucified him," the Passion of Jesus comes to an end not in the peace of the grave, but culminates in der glorreichen Auferstehung am dritten Tag mit dem Vermächtnis an uns, dass Jesus Christus aus Liebe zu uns Menschen und insbesondere für die Sünder und deren Erlösung gestorben ist. Wenn auch die Matthäuspassion aus der genialen Feder des fünften Evangelisten alias Johann Sebastian Bach mit der Grabesruhe Jesu endigt, konnte ein kontemplatives Zelebrieren dieses "opus summum", dieses "höchsten Werkes" in der Bruchsaler Pauluskirche den Durchblick fürs "Ganze" öffnen. Gott sei Dank gibt es noch geistliche Konzerte, die nicht nur dem musikalischen Selbstzweck eines möglichst hohen künstlerischen Niveaus dienen, sondern sich in den Dienst der Glaubensverkündigung stellen.

Mit Bezirkskantor Leo Langer stand der Bruchsaler Aufführung ein Kirchenmusiker vor, der den Verkündigungsauftrag ernst nahm. Es ist die nicht handhabbare emotionale Dimension, welche die riesige Schar an Mitwirkenden verinnerlicht hatte und an das Publikum im vollbesetzten Gotteshaus versprühte. Fesselnd wären alleine schon die Äußerlichkeiten bei diesem Passionskonzert gewesen. Die katholischen Kantoreien Bruchsal und Eberbach bildeten den geforderten Doppelchor, der Jugendchor San Taddeo Neureut übernahm die sopranistischen Ripienostimmen. In historischer Disposition hatte das üppig besetzte Barockorchester "l'arpa festante" aus München Platz genommen. Fünf exzellente Solisten komplettieren das Ensemble, welches nahezu vier Stunden gefordert is.

are Immense preparation time and effort that has more than paid off. The two choirs complemented each other admirably, playing the chorales in a clear diction and dynamic content logically and agogics. Long shaped the sometimes-elegant lyrical Eberbach and the equally brilliant convincing Bruchsaler choir into a homogeneous unit. The tenor Jürgen Ochs seemed the role of the Evangelist in his clear articulation and recitation better technology to be tailored to how the body. The humble deep "vox Christi" would have to Thomas Herberich, whose soothing, almost sedative sonority and expressiveness liked particularly sympathetic, hardly ideal reception can be. Hubert Wild crafted the games the rest of the male and the bass arias Soliloquenten with pathos and emphatic expression. Sabine Goetz (soprano) and Susan Marquardt (Alt) proved to be specialists with regard to a vocal baroque performance practice. Her slender tone allows many subtleties in the field of musical rhetoric and poetics.

It is for such instrumental experts, is the renowned baroque orchestra L'Arpa festante "together, which acted on period instruments properly and professionally. An emotional immersion of many instrumentalists would have been reflected not only in a dynamically nuanced interpretation, but once more of a "goose bumps" caused. Leo Langer proved especially in the recitatives accompagnato a conductor's mastery. A few minutes of silence at the end of the passion demonstrated then the emotion of the audience and participants, before the first legitimate their thanks and recognition in the extended applause they were used.

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Carl Heinrich Graun's Passion cantata" The Death of Jesus "in Bad Dürkheim

A discovery

Carl Heinrich Graun's Passion cantata "The Death of Jesus" in Bad Dürkheim

By Roland Happersberger

Bad Dürkheim. Be sure was worth listening to the performance of the great Passion cantata "The Death of Jesus" by Carl Heinrich Graun by Dürkheimer castle church choir, an impeccable quartet of soloists and the Heidelberg cantata orchestra, not to mention Stefan Göttelmann at the organ, on Sunday at the church door. Church music director Jürgen E. Müller kept all the reins and created an exciting, well-sounding and never boring performance - although the work will last at least a half hour

In a way, leads Graun's oratorio in almost uncharted musical territory, the composer was court musician to Frederick II.. since and with the Prussian king Rheinberger Teenage years combined. "The death of Jesus" in 1755 in the former Berlin Cathedral was first performed, five years after Bach's death, a year before Mozart's birth, and while the style of the chants and has some in the old masters of polyphonic style composed choral music not far removed from Bach, breathe . solo singing a very different spirit that today's music lover may have encountered most likely in the early Italian Mozart operas This is no coincidence: Graun was committed to the latest Italian opera tendencies here prevail cheerful melody bliss and a certain course, to the conventional similarity tending sentimentality that. the libretto is also given.

Seine Reime, freie, mit Betrachtungen angereicherte Nacherzählungen der biblischen Passionsberichte, stammen von Carl Wilhelm Ramler, einem Literaturpapst jener Übergangsepoche, und neben einer ziemlich indezenten Gefühligkeit, mit der sie Jesu Leiden gleichsam auf die Pelle rücken, transportieren sie ein ziemlich kaltes Tugend-Raisonnement und ein ganz eigentümlich verwässertes Gottesbild. Man denkt unmittelbar an Goethes Satire auf die kräftig modernisierende Bibelübersetzung des auch am Dürkheimer Fürstenhof wirkenden dubiosen Theologen Carl Friedrich Bahrdt, in welcher dieser den unvermutet zu Besuch kommenden vier Evangelisten eröffnet, sie müssten erst mal ihre unmodernen Bärte scheren und ihre antiken Coats replaced by modern suits before he could go with them in society.

Some of that is also in this oratorio, especially in the epilogue contains nevertheless some absolute musical gems. It begins simply, with a simple and melodious set chorale stanza to the tune of "O bleeding head wounds." The actual opening chorus is a right in itself conventional scale, but emotionally charged choral fugue, the miller at the pace, probably because of this emotional content ( "His breath is weak") takes quite broad. This gives the choir an opportunity to execute coloratura without haste extremely accurate and euphonious, and subsequently developed is an immensely impressive billowing choral sound face, balanced in the men's and women's voices to each other contrasts, her voice very well. The momentum is balanced delicious, as is the sound relationship with the organist and orchestra, the confident, beautiful sound and work together in tick-free communication - all the qualities that have lasted to the end.

The soprano Elsbeth Reuter fell at the first of the now following recitative-aria pairs, which crafted recitative it appealing, but somewhat neutral, while in the next, after this beginning surprisingly peppy and bright onset of da capo aria - with contrast-gloomy Mittelteil - deren ungemein opernhaften Charakter prachtvoll auskostete. Antonietta Jana, die das zweite derartige Paar sang, schien sich in den Ausdrucksgehalt der Rezitative stärker vertieft zu haben, sie gestaltete wunderbar, brachte in der Arie schöne, schwungvoill tänzelnde Koloraturen. Graun liefert auch hier eine Musik, wie man sie in einem Passionswerk nicht eigentlich vermuten würde.

Noch mehr tat der leider nur an einer Stelle ausgiebiger beschäftigte Tenor Thomas Jakobs, der erst vor einer Woche in Lambrecht in Mendelssohns „Lobgesang" sehr für sich eingenommen hatte: Ungemein agil detailreich gestaltend gab er seiner Partie ungeheure Spannung. Dass dabei gewissermaßen sein Körper sang, is not a mannerism, but the expression of the fact that the composition extremely mobile, the most contradictory emotions are very close together and turn constantly. His equally streamlined, powerful, smooth voice was effortlessly through to the orchestral sound, he sang the recitative is growing very fast, and did it quite vocally, that while a few details not quite right, did nothing to cause. And the aria was simply intoxicating.

Thomas Herberich, the best bass depth, made it quite differently. Jacob was at all blurring motion, stood firm as a tree Herberich sang, consider safe, cost the emotions from a very different way. His text negotiated of tempests, he thundered mightily, and the sun's rays, which he let shine magnificently. Timbre and he filled the nave, its a very different vocal means of expression just different, but just as clever as its onset choirmaster. Not least of these - especially in the common phrases tamed - different personal styles of the soloists, the performance lived to a good deal. takes

After Herberichs Monumentalespressivo the immensely as it were objective, every time and personal style exclusive big double fugue "Christ has left us an example" absolutely striking off, the choir brings them to quickly vorwärtsdrängender enthralling appeal. Remains to re-emphasize some beautiful at the end, about Herberichs almost passionately argued, and musically exciting Accompagnato "will rise Seraphim" - also in the orchestra, especially - and the beautiful penultimate sentence alone, because of him deserves Graun's oratorio, not to be forgotten

..

POESCHH

Source:
Publisher: THE RHEINPFALZ
Publication: Bad Dürkheim
newspaper edition: No.76
Date: Tuesday, March 31, 2009
page: No.21
"deep link" reference: " 4820699 '
Presented by THE RHEINPFALZ Web: digiPaper

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Congratulations, Obama!

Jetzt ist es soweit! Barack Obama is sworn in! After the oath he had taken, he gave a long speech.

About 2 million people and 40,000 police officers were present. After his speech, echoed the phrase he used to say, by Washington: "! YES WE CAN"

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